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HANDLEY-THESIS-2021.Pdf (325.2Kb) MUSICAL WOMEN: A SUBJECT WORTHY OF STUDY By Jenifer Hesselbrock-Handley A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree Master of Arts Major Subject: Music West Texas A&M University Canyon, Texas May 2021 Abstract High school and college students in MUSI-1306 music appreciation courses study many composers and compositions. Of those composers, music appreciation textbooks typically briefly mention a few women composers, most notably Fanny Mendelssohn Hensel and Clara Schumann. Most music courses focus on the master composers comprised of men. This lack of representation of women composers in music appreciation textbooks creates the illusion that there have not been many women performers or composers. Many women engaged in these musical activities. While many female musicians only performed or composed for family and friends, many others performed publicly and regularly published their works. Music appreciation curricula should convey a more diverse population of composers by integrating the study of compositions written by women to achieve the learning objectives for the course. There are similar objectives used throughout MUSI- 1306 college-level music appreciation courses across the state of Texas. In these classes, students learn to identify musical works and elements in a variety of styles, analyze the elements and structure of music using appropriate terminology, and critically evaluate the influence of social, political, technological, or cultural ideas on music. Educators should offer a more diverse compilation of works that would include women composers. Compositions written by women can fulfill the overall objectives in a music course just as well as using works written by men. ii Dedications I would like to dedicate this paper to my loving family. My Sweet Husband: George Every day brought unexpected struggles, yet through it all, you supported my endeavors. We have endured many changes through this process. You have stayed faithful and committed, and for that, I am so blessed. You are my absolute favorite human, and I love that I get to hang out with you every day. My daughters (In order of appearance): Kathryne, Samantha, Penelope, and Annie It is my honor to be your momma. You are all unique and beautiful. I could not ask for better daughters. I hope that you have learned something throughout this adventure we went on together. It is my wish that you seek your dreams with passion, knowing that I am behind you as your biggest cheerleader. My grandchildren: Johnny and Hazel Just because you are adorable. My Parents: Mom & Mike, Dad & Marsha, Teddye, Fred & Lori Thank you for your support. You have been there when I needed you. You have let me know that you are proud of me. Thank you for being on the end of the phone telling me that I can do this. Thank you for coming and helping me with children when I was overwhelmed and unable to focus. Thank you for believing in me even when I did not believe in myself. iii Acknowledgments I would like to thank the people who knew I could when I believed I could not… Mr. Bryan Christian – My high school band director – Yes, I know that was forever ago, but my dream of becoming a music teacher began with you. Everyone else told me that I should do something else. You did not – For that, I am thankful. Mr. Joe Perea – It seems like yesterday and a million years ago that I was in your office deciding my future. That day, you altered the course of my life by telling me that my dreams were not dead. Your encouragement led me to where I am today. Dr. Jerry Wallace – You pulled me into your office on an awful day and told me that I would go farther than I had ever imagined. You encouraged me not to give up. Dr. Kimberly Hieb and Dr. Benjamin Brooks – Thank you for putting up with me. I can get discouraged very quickly, but you kept me focused. Without your guidance, I would not have this accomplishment. Thank you for not giving up on me. iv Table of Contents Chapter Page Abstract ...............................................................................................................................ii Dedication ..........................................................................................................................iii Acknowledgments .............................................................................................................iv Table of Contents ................................................................................................................v Listening Samples ..............................................................................................................vi I. Introduction .....................................................................................................................1 Methodology ...........................................................................................................4 II. Identify Musical Works and Elements in a Variety of Styles ........................................6 Emilie Mayer ..........................................................................................................7 Maria Szymanowska ...............................................................................................8 III. Analyze the Elements and Structure of Music Using Appropriate Terminology .......12 Augusta Holmés ....................................................................................................13 Louise Reichardt ...................................................................................................18 Agathe Backer-Grøndahl ......................................................................................19 IV. Critically Evaluate the Influence of Social, Political, Technological, or Cultural Ideas on Music ............................................................................................................................23 Ethel Smyth ...........................................................................................................24 March of the Women ................................................................................25 The Prison .................................................................................................27 The Wreckers ............................................................................................28 V. Conclusion ...................................................................................................................31 Bibliography .....................................................................................................................33 v Listening Examples Emilie Mayer, Symphony No. 5 in F Minor, 1862 Maria Szymanowska, Nocturne in B-flat Major, Mainz: Schott, 1985 Augusta Holmés, Androméde, Paris: Enoch et Cie, 1901 Augusta Holmés, Irlande, Paris: Léon Grus, 1887 Agathe Backer-Grøndahl, Barnets Vaardag: Sangcyclus, Christiania: Brødrene Hals, 1897 Ethel Smyth and Cicely Hamilton, The March of the Women, London: Houder and Stoughton, 1914 Ethel Smyth, The Prison, London: J. Curwen & Sons, 1930 Ethel Smyth, The Wreckers, Leipzig: Breitkopf und Härtel, 1911 vi Introduction How many little girls have become scientists because of Marie Curie and her research of radioactivity? What about the little girls who were encouraged by the idea that they too could become a pilot because Amelia Earhart was the first woman to fly solo across the Atlantic Ocean? How many future women politicians are there because of Margaret Thatcher or have pursued a career in law because of Sandra Day O'Conner? There are many amazing women in the history of our world, women who paved the way for our little girls today. These women unlocked the imaginations of our future female leaders to become anything they wish to be. They fought for our rights to vote, in the case of Susan B. Anthony and to pursue our freedoms, as in the case of Harriet Tubman. Even the fictional character, Rosie the Riveter, demonstrated that women could be successful outside the home. So much can be learned from the women of our past and their struggles because of their femininity. The nineteenth-century brought about political, industrial, and social changes. One change few recognize was the advancement of women in music. While there were renowned women musicians throughout history, the Romantic era underwent an increase in women composers. Even though there were prominent women composers during the nineteenth century, Music appreciation curricula at both the high school and college levels include a limited number of women. While there is a nod to certain women such as Clara Schumann (1819 – 1896) or Fanny Mendelsohn Hensel (1805 – 1847), music appreciation textbooks focus on the male composers throughout history. One of the most popular textbooks used for college MUSI-1306 music appreciation classes throughout 1 Texas is The Enjoyment of Music. Kristin Forney and Joseph Machlis mention the increase in the number of women composers during the nineteenth century.1 The authors state that this growth in professional women musicians was made possible by expanding educational opportunities within the public conservatories.2 While this is an excellent start in integrating the female voice, brief mentions within a textbook are not enough to show how important women were in music history. Objectives are crucial to student success in any subject and should be specific, brief, understandable, and measurable. Each objective should focus on one element of a student's performance. Looking at Bloom's
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